Table Of Content

T H E A F T E R E F F E C T S I L L U S I O N I S T This page intentionally left blank T H E A F T E R E F F E C T S I L L U S I O N I S T All the Effects in One Complete Guide CHAD PERKINS AMSTERDAM (cid:129) BOSTON (cid:129) HEIDELBERG (cid:129) LONDON (cid:129) NEW YORK (cid:129) OXFORD PARIS (cid:129) SAN DIEGO (cid:129) SAN FRANCISCO (cid:129) SINGAPORE (cid:129) SYDNEY (cid:129) TOKYO Focal Press is an imprint of Elsevier Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK © 2009 Chad Perkins. Published by Elsevier Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (+44) 1865 843830, fax: (+44) 1865 853333, E-mail: [email protected]. You may also complete your request online via the Elsevier homepage (http://elsevier.com), by selecting “Support & Contact” then “Copyright and Permission” and then “Obtaining Permissions.” Recognizing the importance of preserving what has been written, Elsevier prints its books on acid-free paper whenever possible. Library of Congress Cataloging-in-Publication Data Perkins, Chad. The After effects illusionist: all the effects in one complete guide/Chad Perkins. p. cm. Includes index. ISBN 978-0-240-81145-1 (pbk. : alk. paper) 1. Adobe After effects (Electronic resource) 2. Cinematography—Special effects—Data processing. 3. Computer animation. I. Title. TR858.P48 2009 778.5’2345028553–dc22 2008051087 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 978-0-240-81145-1 For information on all Focal Press publications visit our Web site at: www.books.elsevier.com Typeset by diacriTech, Chennai, India 09 10 11 12 13 5 4 3 2 1 Printed in the United States of America Dedication To Heefee, Mikey, and Natty This page intentionally left blank CONTENTS vii C ONTENTS Dedications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . v Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .ix Chapter 1 Becoming an Illusionist . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Chapter 2 The 3D Channel Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Chapter 3 The Audio Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Chapter 4 The Blur & Sharpen Effects . . . . . . . . . . . . . . . . . . . . . . . . 43 Chapter 5 The Channel Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 Chapter 6 The Color Correction Effects . . . . . . . . . . . . . . . . . . . . . . 129 Chapter 7 The Distort Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 Chapter 8 The Expression Controls Effects . . . . . . . . . . . . . . . . . . 275 Chapter 9 The Generate Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281 Chapter 10 The Keying Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 Chapter 11 The Matte Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351 Chapter 12 The Noise & Grain Effects . . . . . . . . . . . . . . . . . . . . . . . 357 Chapter 13 The Obsolete Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401 Chapter 14 The Paint Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411 Chapter 15 The Perspective Effects . . . . . . . . . . . . . . . . . . . . . . . . . 415 Chapter 16 The Simulation Effects . . . . . . . . . . . . . . . . . . . . . . . . . . 425 Chapter 17 The Stylize Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 477 viii CONTENTS Chapter 18 The Text Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523 Chapter 19 The Time Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531 Chapter 20 The Transition Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . 545 Chapter 21 The Utility Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 573 CD-ROM CONTENT Chapter 22 Using Multiple Effects Together Chapter 23 Enhancing the Illusion with Maps Chapter 24 Where Do I Go From Here? ACKNOWLEDGMENTS ix Acknowledgments A big thank-you to my tech editor, Dan Ebberts—one of the biggest celebrities in the After Effects community. This book would be infi nitely less interesting if it were not for Dan’s insights and corrections. Another big thanks to the posse at Focal Press. I’ve never been so impressed with a book publisher before. They are a well-oiled machine over there, and I’m grateful that they put up with a rusty cog (i.e., me) for a little while. T hanks to lynda.com for allowing me to use many of the same exercise fi les in this book that I used in the video training I’ve created there. Lynda.com is another one of those amazing companies that is so great to work with, and their support helped me to get this book fi nished. F inally, I absolutely must say thanks to my family. You know, writing a book is kinda tough. And, I was probably a big jerk for a lot of the process. My family was nothing but patient and generous and uplifting. Thanks!